Cartoni will unveil its Master 30 OB, MIXO 21, standard and twin version of its Lifto HP, the encoded E-Jibo, and the new Ragno Pod during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

The company’s new universal control unit for the Lifto HP motorized elevation system, available in both standard and twin configurations, is designed to integrate seamlessly with leading PTZ controllers, including those from Sony, Panasonic, Canon and Skaarhoj.

The control unit enables full compatibility with the latest console and joystick solutions. It can be powered either through V-Mount batteries or directly from mains power. With PoE+ capability, it delivers power not only to the Lifto motors but also to the PTZ camera itself.

Additional features include direct connection for foot-operated control pedals; easy integration into studio local area networks, with assigned IP addresses visible on the device display; and storage of up to 100 preset positions with adjustable recall speed via the onboard display menu.

Designed specifically for sports and outside broadcast (OB) production, the Master 30 OB introduces a dedicated slide system compatible with the V-shaped wedge plates commonly used in broadcast camera setups. Key features include large V-shaped camera plate for fast camera mounting, ±90-degree tilt range, flat Mitchell base with optional 150 mm bowl adapter and Cartoni’s continuous fluid drag system.

Master 30 OG offers continuous counterbalance for perfect balance at any tilt angle as well as ergonomic brake levers, precision control knobs and digital readouts for rapid setup and accurate operation.

The new MIXO 21 fluid head combines Cartoni’s continuous counterbalance system, trusted across the Focus and Master product lines, with a newly developed seven-step fluid drag mechanism that delivers precise tactile feedback and smooth motion control.

Supporting payloads from a balanced smartphone configuration (such as an iPhone setup) up to a 46.3-pound (21 kg), fully equipped ENG camera, the MIXO 21 offers exceptional versatility for modern production workflows. With a ±90-degree tilt range, it is available with a 100 mm bowl.

The Cartoni Ragno Pod reimagines the traditional camera riser as a robust, portable tripod elevation platform. Raising camera setups by more than 2 feet (629 mm), the system enables operators to capture unobstructed views above crowds and obstacles. Designed for live events, houses of worship, newsgathering, sports coverage and stage performances, the Ragno Pod delivers stability and rapid deployment.

Key specifications include: a maximum payload of 220.4 pounds (100 kg); separate foldable anti-slip operator platform supporting up to 330.7 pounds (150 kg); quick setup within minutes in virtually any environment; and a compact transport padded carrying bag.

The company’s encoded E-Jibo offers advanced motion tracking capabilities via integrated encoders that precisely measure boom and pan movements, delivering ultra-accurate positional data for virtual production workflows. With 4.1 million counts per turn (22-bit) angular resolution, the E-Jibo is well-suited to AR and VR applications.

The system interfaces with tracking PTZ cameras or Cartoni E-Heads, including E-Sensor, E-Master 30, and E-Lambda 25 via dedicated brackets. The E-Jibo supports payloads up to 44.1 pounds (20 kg) and transmits tracking data via the Cartoni VR Box 2.0 or Miraxyz RigFX system.

See Cartoni at 2026 NAB Show booth C6540.

More information is available on the company’s website.

NORTH HOLLYWOOD, Calif.—Cartoni will be showing its entire line of premium camera support products, including tripods, fluid heads and pedestals used worldwide in broadcast, cinema and live event production, at the 2023 NAB Show.  

Cartoni also announced that during the show it will be debuting Lifto 25, an all-new motorized support for PTZ (pan-tilt-zoom) cameras with a unique remote-control elevation unit. Cartoni will also demonstrate E-Maxima 5.0 and E-Maxima 30, encoded versions of two of its most popular fluid heads. Additionally, Cartoni will highlight P40, a versatile, lightweight pedestal available at an attractive price.

“Media production continues to evolve and reinvent itself,” said Elisabetta Cartoni, president and CEO. “We are responding to our customers’ needs with support systems for the newest cameras, camera accessories and modes of production, including VFX. We look forward to sharing our latest innovations with cinematographers, camera operators, rentals, producers and other professionals at NAB in Las Vegas.

Lifto 25 is Cartoni’s response to the increasing use of PTZ cameras by smaller studios in news, talk, educational and religious programming. The head adds height control as a natural complement to the cameras’ point, tilt and zoom capabilities. Camera height can be adjusted remotely via wire or radio.

Extremely versatile, Lifto 25 offers a height range from 70 cm (2.3 ft) to 250 cm (8.2 ft). The motorized column performs a two stage, 70 cm stroke at 25 kg/50 lbs capacity. Its special SDS (Smart-Stop double stage) tripod structure ensures stability and torsional rigidity. Lifto 25 comes with a built-in spreader and rubber feet. It can also be mounted on a lightweight Cartoni dolly.

E-Maxima 5.0 and E-Maxima 30 are the latest results of Cartoni’s ongoing initiative to apply encoding to manually operated heads for visual effects, virtual production and similar applications, the company said. 

“The advent of VR and AR have made it imperative to accurately track movements and match them with the virtual backgrounds and characters,” observed Cartoni. “Virtual composition is now used in all segments of the industry, from studio cinema productions, to sports and newsgathering.”

Cartoni E-series heads incorporate high resolution encoders with 4 million counts on both axes, directly fixed on the rotation shafts for infinitely accurate readings of angles. Data is supplied in binary code to conform to the most widely-used virtual engines, including Real-Time VFX, Unreal Engine and FreeD Engine, or streamed to virtual boxes alongside other camera and lens metadata, the company explained. 

As the only company that designs and manufactures camera support products in Europe, Cartoni, offers support for all types of cameras from tiny DSLRs to the field cameras with boxed lenses, from sophisticated cine-style infinitely defined cameras to PTZ cameras. It also offers several specialty items including Lambda nodal and encoded heads.

For more information visit www.cartoni.com. 

NORTH HOLLYWOOD, Calif.—Camera support manufacturer Cartoni has acquired STE-Man/Manios Digital & Film, a supplier of camera equipment to the film and broadcast industry that has represented Cartoni in the U.S. since 1989. Terms of the deal were not disclosed.

“In acquiring our U.S. distributor, we will be more directly involved with our No. 1 market and improve our response to the industry’s evolving needs,” said Elisabetta Cartoni, president and CEO of the support manufacturer. “The close cooperation we’ve had with Steve Manios and his great team will continue for many more years. This merger will also allow us to further expand and better serve the rest of the Americas with a dedicated warehouse and service center.” 

Manios will continue with the North Hollywood operation and serve as vice president of sales and marketing. 

“This is the natural step in a wonderful relationship spanning more than three decades,” said Manios. “I’m looking forward to working closely with the Cartoni team in Italy and growing markets for their unique products.”

Other senior members of the Manios Digital & Film staff will continue in their current roles, including western regional sales manager David Butler, eastern regional sales manager Gus Harilaou, inside sales manager Chris Lobos and accounting director Selma Top.

More information is available on the Cartoni website.

ROME—Cartoni Camera Supports has announced it will showcase newly introduced encoding for its lineup of professional fluid heads, including the Maxima, Master and Magnum, during IBC2022, Sept. 9-12, at the RAI Amsterdam Convention Centre.

The addition gives the company’s range of heads the ability to track position and provide precise camera information for VFX production applications.

"We were pioneers when we made our first encoded-ready heads and are now pioneers in creating the new position-encoded e-series," said Elisabetta Cartoni, company president and CEO. 

The e-Maxima, e-Master and e-Magnum encoded heads are the company’s latest response to the needs of visual effects creators. The e-series fluid head includes all of the features of Cartoni's premium heads for digital cinematography, the company said.

In addition, the e-series features extremely high-resolution direct sensing encoders in both the pan and tilt axis. The encoders render absolute positioning without re-calibrating at start-up, it said.

"We designed the e-Sensor head to track virtual environments more than 10 years ago. The e-Sensor was followed by the encoded Master Series and Magnum, which are mainly utilized in virtual production and sports,” said Cartoni. “Now that the evolution of VFX technology faces the growing need for motion-picture-precise data, we have expanded our encoding technology with the latest absolute encoders available on the market. These encoders have a reduced size and high resolution at 4 million counts per turn.”

Compatible with most 3D packages for real-time camera and scene movement in virtual sets and pre-visualization, the e-series is well-suited to insertion of 3D graphics in sports productions, it said.

Data is transmitted directly from connectors on the heads, or it can be processed and gathered with other metadata via a VR box programmed using major VFX industry protocols, it said.

The addition of encoding ability complements the premium line of Maxima fluid heads. The e-Maxima fluid heads are designed for digital cinematography. In contrast, the e-Master and e-Magnum fluid heads are custom-built for broadcast and OB production needs, the company said.

See Cartoni Camera Supports at IBC 2022 Stand 12.F31.

More information is available on the company’s website.

Last March, the Los Angeles area, one of the sparkling gems of the Hollywood entertainment empire, joined the rest of the world when the pandemic forced everyone in the region to stay-at-home. The stay-at-home order and subsequent industry shutdown sent the entire production world into a tailspin, with the Los Angeles area estimated to have lost nearly one million jobs. Film crews were sent home, and many independent cinematographers faced an uncertain future.  

We caught up with international award-winning cinematographer Joshua Ausley, who splits his time between Los Angeles and Atlanta, to get his thoughts on the last year. Ausley has worked on feature films and projects for Marvel, HBO and Netflix, among others. He takes a look back at the year, his thoughts on the future and shares his experience using Cartoni tripods.  

TANYA LYON: Film and video production is finally ramping back up following COVID and staying at home orders, but you have been pretty busy. Can you tell me about some of the projects you have been working on? 

JOSH AUSLEY: I shot a commercial for XFINITY, followed by a documentary feature that involved a lot of time on the road. Virtually everything has been remote-to-client, meaning the agency and producers stay at home in L.A. or the U.K. (or wherever they are) and view or direct the shoot via streaming services. 

Diversification has been the key to keep the work flowing. When the usual commercial jobs dried up, we were able to quickly pivot and start doing remote shoots, such as TV documentaries, to help us get by until things ramped back up.

TL: One of your early pandemic shoots was the Budweiser Memorial Day “Take Two-Minutes” commercial. What was it like working on that commercial at the height of the pandemic?

JA: We were approached by the agency, DAVID, to be part of a multi-city campaign honoring both veterans and frontline healthcare workers for a Memorial Day spot by Budweiser. The various locations would have needed different crews since travel was restricted. However, as the course of the creative changed, we had the opportunity to produce the whole spot ourselves. I brought on an experienced producer, Liz Stovall of Fenton Pictures, to help me make the commercial so I could focus on directing the photography. The spot tells the story of a military service member and a medical worker, juxtaposing them by shooting parallel scenes that were then shown in a split-screen fashion.

We had less than a week to put it together, which included sourcing talent and locations. Keeping everything small due to COVID at the agency’s request, we assembled a lean team of less than 10 and shot everything in one day. The spot was on the air less than a week later.

TL: Can you explain how this experience was different than a typical production? 

This shoot was right as the pandemic was ramping up here in the U.S. At the time, there were a lot of unknowns and no widely accepted protocol, so we had to do everything we could [to stay safe]. All crew members wore PPE and stayed 6 feet apart at all times. Temperature checks were done in the morning.  Lunch was taken outside and separated with individually-boxed items.

This was slightly before real-time Zoom feedback became the norm. As a result, we sent photos and screenshots back to the client to get their feedback and approval. And we still had to work fast.

TL: Can you talk about the gear you used for the shoot?

JA: We shot on my ARRI Alexa Mini, paired with Zeiss mk3 Super Speeds. For support, we used my Focus 22 Cartoni tripod and an EasyRig for handheld shots. I had to pull my focus since I didn’t have a first AC for the shoot.

Because the crew was minimal, we used a lean lighting package consisting mainly of an 800-watt Joker HMI, a Litepanels Gemini panel and a pair of Kino Flo Select 30 LEDs.

TL: With a smaller crew, how important was it to have a small, lightweight, reliable fluid head like your Cartoni?

JA: Smaller crews mean fewer hands to help move gear. People are wearing multiple hats now, and the heavier the gear, the slower you can move. Having a lightweight tripod head helped me tremendously as I didn’t have an AC for the shoot. I was able to pick up the sticks and the camera all at once to move between setups and make small adjustments to the camera position as needed.

TL: Have you worked on any other shoots during the pandemic (you were in Mexico recently for a shoot, too, right)?

JA: I just got back from Cancun filming for several all-inclusive resorts to showcase their COVID-safety procedures and convince people to come back. The travel industry is probably the hardest hit of all during this pandemic, as my wife knows especially well since she is a travel professional. But there are still some places that Americans can go to. 

For this shoot, I brought my Sony FX9 with Focus HD Cartoni tripod system, an even lighter package that enabled me to be super mobile. The Focus HD is the perfect size, and weight to use with the FX9 and makes lean shooting a whole lot easier.

TL: How do you think the pandemic will change production?

JA: In the short-term, it’s clear that we will be wearing PPE, getting temperature checks and regular testing on longer shows. Some productions are putting crews into quarantine before starting, especially in other countries. Remote productions are huge right now, with clients logging into the shoot from their homes or offices.

I think we’ll see some long-term changes from this, even after the pandemic has passed. Like many businesses now have a more favorable view on working from home, I think clients will realize more and more that they don’t have to fly in a lot of people for productions. Remote shoots will probably stay popular, to save productions on time, personnel and travel costs. The downside of this is that it takes longer to get client feedback and approval, so that effect will have to be weighed. 

We definitely need to be adaptable moving forward in 2021.

TL: How long have you been using Cartoni?

JA: I bought my first Cartoni tripod in 2016 through a trade-up program switching from another manufacturer. I immediately noticed it was a big upgrade for me. I had tried many different systems out, but the Cartoni package hit all the points without compromising anything. A strong, durable system that can put up with a beating and a fluid head capable of adapting to the weight of many different cameras. I’ve shot four features with it and traveled with it extensively. It holds up very well.

TL: Which fluid head do you own?

JA: I own the Focus 22 head as well as the Focus HD. It’s great to have both a very lightweight package and one that can handle serious loads. Those two can handle whatever gets thrown at them.

Tanya Lyon is a spokesperson for Cartoni.

ROME—Cartoni has shared that its UV-C Boxer was recently certified by Texas-based Microchem Laboratory as being able to neutralize microorganisms, including COVID-19, in 3 minutes. Per Cartoni, this makes UV-C the first production device proven to disinfect.

The UV-C Boxer, which is equipped with 10 medical-grade UV-C (100-280nm) lamps, was found to disinfect 99.985% of microorganisms, per Microchem. With its box design and large chambers, Cartoni says productions and rental houses can evenly sanitize multiple objects at a time.

Microchem tested the UV-C boxer with 64 plates of antibiotic resistant bacteria and other microorganisms, including COVID-19, on different materials. Each microorganism was also tested at five different positions within the UV-C Boxer’s chamber, per Cartoni.

“We are thrilled to be able to provide a certified solution to disinfect props, gear and devices as the world and our industry look to get back to work—safely,” says Elisabetta Cartoni, the CEO of Cartoni Professional Camera Supports. “Although designed for the production community, we can see how the Boxer could have other applications in other industries.”

For more information on the UV-C Boxer, visit www.cartoni.com.  

ROME—Cartoni is using its experience designing camera support systems to develop products specifically for use with PTZ cameras, which the company says are increasingly being used because of the remote and social distance production needs stemming from the COVID-19 pandemic.

Rather than have PTZ cameras installed on ceilings, walls or camera support meant for larger cameras, Cartoni has designed a tripod/dolly, stand and pedestal designed for PTZs.

The PTZ tripod/dolly pairs a lightweight Cartoni tripod with a half-ball camera attachment. The entire setup rests on a lightweight dolly and comes with a mid-level spreader.

Cartoni’s PTZ stand features a telescopic three-stage stand with a PTZ ball joint to mount the PTZ camera. It also is equipped with a quick-release sliding plate and rubber feet that can be used alone or with the dolly.

Then there is the P20 pedestal, which now features a PTZ attachment. With this, PTZ cameras can be used in super high setups, while also having a vertical gliding movement of 40 cm. The pedestal’s 3/8, 1/4-inch camera attachment enables PTZ cameras to be assisted by a teleprompter, Cartoni says.

For more information, visit inside.cartoni.com.  

ROME—Cartoni has introduced the UV-C Boxer, a device designed to sanitize production equipment such as cameras, batteries, lenses, Steadicams and accessories with germicidal ultraviolet light to prevent the spread of COVID-19 and other infectious diseases.

“At Cartoni and in Italy, we were among the first to be hit by this devastating pandemic. During our state-mandated lockdown, we studied a solution to help our industry,” said Elisabetta Cartoni, president and CEO of Cartoni Camera Supports. “The answer was a device that could help production crews and rental houses to stay safe from the virus. Social distancing, masks and gels meet safety requirements, but on production sets where the equipment is constantly handled multiple times during shooting hours by operators, assistants, grips, etc., we think for production to truly ramp up again there is a compulsory need to disinfect and decontaminate gear daily or even several times a day,” she said.

UV-C light, typically between 200 and 280 nanometers, can inactivate bacteria and viruses. In the right strength, it modifies the DNA structure of an infectious cell so it cannot reproduce, the company said.

For decades, UV-C light has been used in hospitals and healthcare facilities and has shown itself to be effective in controlling contamination by microorganisms, such as COIVID-19.

The Cartoni UV-C Boxer sanitizes the surface of film and video equipment with UV-C light, and emits no moisture, gas or powder. It is equipped with 10 medical-grade UV-C (100-280nm) lamps and will sanitize objects across their entire surfaces, it said.

Although UV-C may discolor plastic and ultimately affect the carbon boundaries of the molecule after extreme exposure of over 1,000 hours, UV-C lamps will not deteriorate electronic boards, electrical components or glass elements, such as lenses and filters, the company said.

The total irradiation and microorganism disinfection cycle of the Cartoni UV-C Boxer is five minutes to sanitize each batch of equipment, as metered by a timer, it said.

The newly designed Cartoni UV-C Boxer has a large sliding boxlike container for safe loading and sanitization of multiple pieces of gear at the same time. Like all UV light, exposure to UV-C rays can be dangerous to humans, so Cartoni designed the UV-C Boxer with a safety lock system to avoid accidental UV-C irradiation. If the door to the UV-C Boxer chamber is not safely locked, the UV-C lamps will not activate, it said.

Designed to operate indoors and out, the UV-C Boxer is the right size to be transported by a small van or large SUV. It is equipped with wheels with positive locks and is easy to move around on flat surfaces or in studios, Cartoni said.

The UV-C Boxer is 39.5x26x37.5 inches, weighs 114.64 pounds and has an internal chamber that’s 36.5x21.5x24 inches.

More information is available by emailing the company. 

NEWPORT BEACH, Calif.—For nearly 20 years, FilmEd Academy of the Arts provided state-of-the-art production services and filmmaking training to high schools throughout Orange County, Calif. With demand for video production and digital skills on the rise, FilmEd has trusted the same brand that Hollywood studios and broadcasters trust for reliable, smooth performance, Cartoni, and in fact, they’ve been using the same Cartoni tripods for nearly 15 years.

“Well, we were looking around at a lot of different types of tripods that would work for a high school program. At the same time, we wanted to find a tripod system that would be industry standard so that our students would be learning a system just like the cameras we use that would propel our students directly into being able to work side by side with professionals. Cartoni was one of the tripods that was recommended by our vendor. We bought it and it’s ended up working really well for us,” explains FilmEd’s Executive Director David Junker.

Aside from simply teaching students about video production, FilmEd needed a tripod system that could meet the rugged demands of their broadcasting needs. As part of their program, they provide equipment to secondary schools to produce institutional broadcasts and cover school events. The organization also develops curricula for advanced media students, mentors film school applicants and provides core movie-making instruction in a series of two-week summer workshops for 9-12 grade-level participants. FilmEd is a sponsor for the “for student, by student” Orange County Film Festival, providing a showcase for Academy participants.

For equipment that was easy enough for a beginner as well as rugged enough to handle daily production demands, Film Ed’s top choice was Cartoni.

“We bought 20 Cartoni Focus HD tripods and we’ve been using them since 2006. That’s worked really well for us. We were using a prosumer sized camera by Panasonic but recently upgraded to the VariCam 35,” says Junker.

Despite the daily use, the Cartoni tripods have held up well for FilmEd Academy—even after more than a decade.

“We’re still using the Cartoni tripods legs that we bought back in 2006. The Cartoni heads have also been good, even with student use. Obviously, being used by students, the heads are going to take a beating. Sometimes students who are still learning won’t know how to care for the tripod so they may leave the lever out, or a lock on. In that case, Cartoni service, located here in Los Angeles, has been really good at helping us maintain the Cartoni systems over the years. The funny thing is that we are still using the exact same tripods that we purchased almost 15 years ago.”

Equally important to how heavy-duty the Cartoni tripods have proven to be, FilmEd Academy also needed gear that has been easy to use for beginners and extremely versatile to meet the changing demands of the academy education.

“I think that once students understand how to use the tripod such as how to care for the tripod and how to balance the tripod, then they really begin to understand how to make the tripod work for them beyond just getting a stable shot.”

LAS VEGAS—Camera support manufacturer Cartoni plans to showcase its new Red Lock system of camera support gear, which combines its Red Lock tripod unit and its Focus family of fluid heads.

Cartoni’s Focus series includes the Focus 8, which features a payload capacity of 8 Kg, the Focus 12 (12 Kg) and the new Focus 10 (11 Kg). These fluid heads can be combined with the Red Lock tripod that utilizes red lock levers for quick set up. 

The Red Lock system also features Cartoni’s Smart Lock mid-level spreader, with dual extendable sections that enable tripod legs to spread wide for low shots, and which can fold up without binding of the legs.

Cartoni also touts the systems smooth panning and tilting movements.

Attendees can see the Red Lock system for themselves at Cartoni’s booth, C9120, during the 2020 NAB Show April 18-22 in Las Vegas.

For more information, visit inside.cartoni.com. 

Newport Beach, Calif (January 30, 2020) – For nearly twenty years, FilmEd Academy of the Arts for provided state of the art production services and filmmaking training to high schools throughout Orange County. With demand for video production and digital skills on the rise, FilmEd has trusted the same brand that Hollywood studios and broadcasters trust for reliable, smooth performance. That brand is Cartoni and in fact, they’ve been using the same Cartoni tripods for nearly 15 years.

“Well, we were looking around at a lot of different types of tripods that would work for a high school program. At the same time, we wanted to find a tripod system that would be industry standard so that our students would be learning a system just like the cameras we use that would propel our students directly into being able to work side by side with professionals. Cartoni was one of the tripods that was recommended by our vendor. We bought it and it’s ended up working really well for us,” explains FilmEd’s Executive Director, David Junker.

Aside from simply teaching students about video production, FilmEd needed a tripod system that could meet the rugged demands of their broadcasting needs. As part of their program, they provide equipment to secondary schools to produce institutional broadcasts and cover school events. The organization also develops curricula for advanced media students, mentors film school applicants and provides core movie-making instruction in a series of two-week summer workshops for 9-12 grade-level participants. FilmEd is a sponsor for the “for student, by student” Orange County Film Festival, providing a showcase for Academy participants.

For equipment that was easy enough for a beginner as well as rugged enough to handle daily production demands, Film Ed’s top choice was Cartoni.

“We bought twenty Cartoni Focus HD tripods and we’ve been using them since 2006. That’s worked really well for us. We were using a prosumer sized camera by Panasonic but recently upgraded to the VariCam 35,” says Junker.

Despite the daily use, the Cartoni tripods have held up well for FilmEd Academy – even after over a decade.

“We’re still using the Cartoni tripods legs that we bought back in 2006. The Cartoni heads have also been good, even with student use. Obviously, being used by students, the heads are going to take a beating. Sometimes students who are still learning won’t know how to care for the tripod so they may leave the lever out, or a lock on. In that case, Cartoni service, located here in Los Angeles, has been really good at helping us maintain the Cartoni systems over the years. The funny thing is that we are still using the exact same tripods that we purchased almost 15 years ago.”

Equally important to how heavy-duty the Cartoni tripods have proven to be, FilmEd Academy also needed gear that has been easy to use for beginners and extremely versatile to meet the changing demands of the academy education.

“I think that once students understand how to use the tripod such as how to care for the tripod and how to balance the tripod, then they really begin to understand how to make the tripod work for them beyond just getting a stable shot.”

For more information about FilmEd Academy, then contact David Junker at david.junker@cinematicarts.org

Manios Digital is the exclusive US distributor for Cartoni tripods.

SEATTLE—News crews are always in a hurry, trying to be the first with a liveshot from the latest breaking story. Two critical pieces of gear that facilitate speed of deployment are tripods and battery packs and manufacturers are making pods and power supplies that offer new, innovative tools for news shooters.

“We really had news crews in mind when we designed our Flowtech tripods,” said Tobias Keuthen, global brand market director for Vitec Production Solutions Division. “Those are the ones who are really run-and-gun shooters. Our number one goal was ‘how can we minimize the time you need to set up your camera with tripod and the fluid head?’”

BEST PLACEMENT

The ideal tripod would have one central locking mechanism somewhere on the top of the tripod, to set up all legs at the same time, Keuthen said. ”That’s what we did with Flowtech; we have three levers at the top of the tripod that operate the three legs with three stages. And it’s very convenient because you reduce the amount of time you need to set up the tripod by multiple seconds, 10-20, down to a second or two.”

Development engineers from Vitec brands Sachtler and Vinten worked in concert on Flowtech. “They mixed their brain power and their ideas and developed this together,” Keuthen said. “We had to develop a whole carbon fiber factory because of the profile needed to house the wire system of this mechanical design.”

OConnor, which makes tripods and fluid heads known for more heavy payloads and accuracy than for speedy setup was not thought of as appropriate for Flowtech, even though it is part of Vitec.

“But in the months after launch of Flowtech, we saw in social media that customers of OConnor’s lighter weight 1030 fluid head started to buy the 100mm version of Flowtech,” Keuthen said. “So we produced an OConnor version of the Flowtech, and used that opportunity to refresh the 1030 fluid head itself, the OConnor 1040 system.”

SINGLE MOVEMENT DEPLOYMENT

Design and reliability make a tripod fast to use, according to Elisabetta Cartoni, owner and CEO at Cartoni SpA. “The tripod needs to be easy to deploy in a single movement,” she said. “The Cartoni SDS tripod is an excellent example of how design meets reliability.”

The SDS tripod legs can be released with a single lever, located on the middle of each leg. “We prefer having the lever located on the middle stage so that the upper stage is never out of reach, even in high mode,” Cartoni said. “Placing the release lever on the middle stage also distributes the locking force on the three sets of tubes better.

“Adjusting the spreader and folding the tripod also has to be fast,” Cartoni added. “On the SDS, the spreader will deploy the two telescopic stages with a single button, making very low shots possible. The tripod can be folded by pulling a single ring, which will also automatically retract the spreader so you can quickly move onto the next shot.”

Cartoni added that competitors who have tried to imitate Cartoni’s design often compromise the strength of the tripod.

“For example, tripod legs will and should always be stronger than the fluid head,” she said. “That’s due to the stress and payload the tripod must carry. Our SDS tripod is tested to support 132 pounds and thus, it easily supports our Focus 22 head at full load [49 + 13 pounds]. When you compromise the shape of the tripod, you compromise the strength of those legs and eventually, you will see them begin to slide and put your camera at risk.”

QUICK RELEASE

At the 2019 IBC Show last fall, Shotoku introduced the SX200 and heavier duty SX260 fluid head and tripod system. For rapid deployment, they have a very quick release mechanism on a two stage carbon fiber tripod, according to Graham Ramsey, sales director for manual and VR products, EMEA, the Americas, Shotoku.

“You turn the tripod 90 degrees and the legs deploy instantly,” he said. “And then you can lock them with a 90 degree turn the opposite direction, and then you open the legs and you’re set.”

In terms of the drag system and counterbalance system, those settings often need not be readjusted shot by shot if the payload doesn’t change, Ramsey said. But the new heads employ Shotoku’s Truebalance counterbalance system that will work from plus 90 to minus 90 degrees. It balances the camera perfectly, so the user can operate it anywhere in the tilt range.

”The drag system is a continuous drag setting mechanism called ‘Viscam,’ which we’ve been using for a long time on all our high-end, OB systems, EFP systems,” Ramsey said. “Now we’re putting it into our ENG system as well. It’s basically a multiplate design that works on the basis of increasing the cross sectional overlap area of the plate.”

Shotoku has manufactured the SX series from magnesium die cast rather than aluminum, cutting down on weight, according to Ramsey.

POWER SUPPLIES

Portable power makers have provided a smorgasbord of solutions for news shooters moving fast.

Anton/Bauer’s Product Marketing Manager Rich Mattina detailed a typical news assignment. “They’re waiting for events to happen, let’s say it’s a press announcement, waiting for a politician or somebody to come out and do a press briefing. Sometimes it’s an hour, two hours, three hours. So we’ve put USB ports on our Titon battery packs so that tablets and cell phones can be charged, and the 150W Titon can keep supplying power to the camera during the wait.”

Titon also comes in a 90W model that can be carried aboard a plane, and a 240W model when the pack has to operate for a long time, with accessories such as a portable light plugged in as well. The Titons are all available in Gold Mount and V-mount, and not only have the USB port but also P-Tap for lights and other accessories. With 10Amp draw at 14V, they’re designed for the typical news camcorder.

With the on-board LCD or through the viewfinder, the cameraman can monitor exactly how much runtime remains, down to the minute. Titon smart technology considers and calculates everything being powered, even devices powered by the high-speed USB and P-Tap, leaving the user free to focus on bringing back the story.

What differentiates PAG from other battery pack makers is the ability to link batteries, combining them for longer run life, according to Bob Carr, sales director at PAG America.

“Unlinked PAG power packs can be legally carried aboard airliners, then quickly relinked to provide the advantages of a single larger battery pack,” he said. “Up to eight PAG batteries can be linked at a time. Similarly, up to eight can be charged at the same time on a single charger.” The ability to stack PAG battery packs is built into the packs, requiring no adapter.

PAG battery packs are available in both Gold Mount and V-mount, and can be charged on other companies’ chargers. A new feature on PAG’s MPL50G battery packs is a built-in D-Tap output (12V), and a USB output unit (5V 2A), which can be swapped for other unit types: Hirose, Lemo and D-Tap.

Future PAG batteries will have the ability to be serviced and re-celled by major customers and regional offices, Carr said, which should cut down the amount of time a battery pack is out of service while being repaired. Major customers can keep track of their own repair cycles, and will be given the key, tools and testing equipment, and replacement cells.

Kevin Crawford, vice president of engineering for Frezzi, says many of his customers think bigger is better for power packs.

“Our FLB-240 can run a camera for two days,” Crawford said. “A lot of our local news crews use that because then they don’t have to carry multiples of smaller batteries, which speeds up the shoot. So you combine that, the lightweight draw for the lighting coupled with the high energy density batteries, you have a nice kit where somebody can go out and shoot for two days without having to do a recharge.”

Frezzi power packs are available in both Gold Mount and V-mount, and a fuel gauge. A smaller, FLB-100 is legal for airline transport. Thermal, over-discharge, overload, over-current protection is built in.

Located in northern California, Thunder Valley Casino is a AAA Four Diamond award-winning Casino Resort. As one of the region’s premier entertainment destinations, the casino recently decided to revamp its camera and support package to prepare for another season of concerts.

“Our concerts take place in two different areas. During the winter months, we have a 900-seat auditorium, and in the summer, we erect a custom 5,000-seat outdoor amphitheater. When I took over managing the AV department back in 2015, and after years of heavy use, we began to notice considerable breakdown on our aging video package,” explains Darren Scott, the Audio Video Manager at Thunder Valley Casino Resort.

Already equipped with state-of-the-art sound and lighting system and two large video screens flanking the main stage, Darren worked with integrator, VMI, to make upgrades to Thunder Valley Casino’s entertainment and production venue. To round out the venue’s system, Darren decided to upgrade and increase the camera lens size to the Fujinon Digipower 55 box lens. The improved zoom lens would create better quality video for the screens and an excellent display for audience members at any place in the amphitheater. The move to a larger lens meant that other areas of the production would also be impacted.

“Before we upgraded to the Fujinon lenses, we were using two smaller Sachtler tripods for our two Hitachi Z-HD5000 cameras. Last year, after I received the approval to increase our lens size, and I knew we would need to upgrade our tripod to support the larger lens. I contacted Dennis [Dunrud] at VMI,” says Darren.

Founded in 1973 and headquartered in Sunnyvale, California, VMI specializes in systems integration and installation. To support Thunder Valley Casino’s larger lens package, VMI recommended the Cartoni Master 65. Designed to support heavy-duty camera packages from 44 lb to 143 lbs, the Master 65 is ideal for outdoor Broadcast with bulky boxed lenses.

“Darren contacted me about improving the video production quality at Thunder Valley Casino’s entertainment venue, particularly in their large, outdoor Concert Stage. After visiting the venue, I evaluated their existing production system. Some of the products they had originally purchased were showing signs of heavy wear. Particularly their cameras and tripods,” says Dennis Dunrud, a sales manager at VMI.

Working through Cartoni’s US distributor, Manios Digital, VMI would bring Thunder Valley demo gear to ensure that the new supports met their needs.

“As I would make recommendations, we would bring in demo gear for Darren and his team at Thunder Valley Casino to try,” says Dunrud. “We were able to demo Cartoni tripod systems, including the Master 65 and a smaller system, the Cartoni Focus 22, which we recommended for use with their existing lighter camera packages and spider pods. They were quite pleased with the results. The broad selection in the Cartoni product line and the ability to use and test the products allowed Thunder Valley Casino to purchase with confidence. We were able to place their tripod systems in all of the customer’s other applications. Since then, they have been very pleased with the stability, durability, and overall performance of the Cartoni products. Darren has chosen to standardize all of their production tripods to Cartoni.”

For the entertainment team’s lighter packages, VMI helped Thunder valley choose the Cartoni Focus 22. As one of the most versatile products in the Cartoni tripod range, the Focus 22 can support small studio packages or ENG cameras, with a payload capacity of 6.5 pounds up to 48.5 pounds. In all, Darren would work with VMI to install two Cartoni Master 65 and two Focus 22 tripods to upgrade the entire production experience.

And going into their second season with Cartoni, the video team at Thunder Valley Casino Resort couldn’t be happier.

“The amount of control, stability, and overall function of the Cartoni tripods allows my film crew to function more effectively. They can focus on the performance rather than focusing on the mechanical issues that may arise with a subpar tripod,” says Darren.

He adds, “I would recommend Cartoni to any major film production. The product stands out amongst the rest.”

Manios Digital is the exclusive US distributor for Cartoni Camera Supports, Hawk-Woods batteries and accessories, and Kinotehnik Bluetooth-enabled LEDs. 

Frank Lozano is on a mission.

“I’ve filmed orphanages in Haiti, AIDs clinics in Nigeria, I have documented digging water wells in Burkina Faso, Africa, and told the heartbreaking story of two married Holocaust survivors that met in a concentration camp,” says Lozano. The imagery he creates is inspiring. Visual storytelling may be the only way to accurately convey what the first drop of clean, accessible drinking water can mean to a people who have never known one.

Frank’s corporate clients include a resort in Cambodia, and his photographs have had gallery showings. The documentary filmmaker and veteran photographer has a professional background as diverse as the places he has traveled. Based out of Los Angeles, his projects have taken him all over the world.

“Since most of the organizations don’t have budgets, I use the gear that I own and have a very small footprint. I am currently shooting with the Sony A7III and carry my older Canon 5DMKIII as a backup,” says Frank. For sticks, Frank uses the Cartoni Focus 8, a lightweight tripod with the stability to create his precise time-lapse sequences and provide camera movement that is smooth and natural. The Cartoni Focus 8 can handle payloads of up to 17.7 pounds and thanks to the SDS Tripod legs, it sets up & folds in an instant.

Frank’s own career arc is as unscripted as the many projects he works on. “I used to be “on-air” at Power 106 FM as ‘Lozano on the Loose’ from 1989-2001,” says Frank. “Even though I was a disc jockey, I always had my camera and took pics of the artists that came into the studio, and I have some good ones - Eminem, Mariah, Lionel Ritchie, Carrie Underwood - many of these photos have never been shared publicly.”

But Frank’s love of photography and the moving image began long before he picked up a mic. “I guess you would say I have been shooting since I was in middle school and I have my mom to thank or blame for that,” says Frank. “She always had a 35mm film camera and a Super 8 movie camera around the house, and I started telling stories with those tools editing footage with blade and tape.” Recently, a high school classmate posted a photo of Frank back in the day with his 35mm in hand.

And it turns out Frank has a history with Cartoni. “Fifteen years ago when I was giving my time as the media director for a local church, they had two Cartoni tripods, and I used them whenever I could,” says Frank. “Back then, I didn’t have the budget to invest in a Cartoni, so I purchased a ton of other tripods and, like most shooters, I have a stack of them in my garage.”

A couple of years ago, Frank finally got a Cartoni from Band Pro in Burbank, and after using it the first day, he was sold on it. “With all the money I spent on inferior tripods, I could have purchased several Cartonis,” he says.

Frank’s background in both radio and film has allowed him the opportunity to serve not only his community but people around the world. He has his own nonprofit - GlobalPointMinistries.org. “The projects I am drawn to are varied,” says Frank. “I run my own sound using my Sound Device MixPre6 with four wireless lavs and am looking to convert to all Sony glass and get another Sony camera as the budget warrants.”

The Cartoni will be with him. “If I had just invested sooner, I would have saved myself tons of frustration with shots I didn’t like or could not use because the sticks were cheap,” says Frank. “It is so nice to shoot with a tripod that is solid, steady, and reliable.”

“I love giving back,” says Frank and if you look at his amazing body of professional and nonprofit work, you will quickly see that is not a cliché. Check out his website, lozanoproductions.com and on social media at @franklozano. Frank jokingly says, “I have helped out so many non-profits, I’m the only one who is not profiting.” Frank laughs and continues by saying “But it’s that same spirit that has taken me to some pretty cool locations to tell stories that needed to be told. That’s my mission”.

Manios Digital is the exclusive US distributor of Cartoni Camera Supports.

###

Rome, Italy (August 22, 2019) – Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is pleased to announce a new array of products which will debut at IBC 2019 (booth 12.E30).

RED LOCK lightweight tripod

The newest release in the Cartoni Tripod range is the RED LOCK.

Designed for camera operators on the go, the RED LOCK tripod is a lightweight and extremely robust two-stage aluminum tripod capable of achieving extremely high and extremely low shots, reducing the need for baby leg tripods. Surprisingly affordable, the RED LOCK tripod was designed with speed and ease of use in mind for camera operators who know that every second counts! The RED LOCK tripod can also accommodate 75mm and 100mm set-ups by simply changing the inner composite ring.

Rubber feet have a new design for maximum stability, and the Smart Spreader allows you to set up & fold the tripod in an instant.

RED LOCK Tripod Specifications:

MAXIMA 5.0

The new MAXIMA 5.0 is the ultimate answer for digital cinematography with heavy-duty packages.

Featuring Cartoni’s patented counterbalance, the MAXIMA 5.0 handles payloads from zero to 50 kg, with “perfect balance” throughout the 180° tilt range. The patented continuous fluid drag system allows almost freewheeling to extremely consistent drag for maximum versatility and perfect diagonal shots.

The MAXIMA 5.0 knobs and levers are ergonomically placed to ensure camera operators complete ease-of-use in any situation, whether in the studio, location, or during outside shooting. The large sliding camera plate is compatible with ARRI, Sony, and O’Connor. The head comes with a telescopic pan bar and a short front pan bar. Optional 150mm bowl base can be easily applied.

Maxima 5.0 Specifications:

S200

Making its IBC debut will be the Sport 200 (S200). The new Sport 200 are a revolutionary set of tripod legs, designed specifically to meet the rigorous demands of sports and outside broadcast (OB) production. It continues Cartoni’s legacy of delivering cutting-edge solutions for content creators.

“The new Sport 200 is a game-changer. It features an extremely innovative aluminum profile and angular structure, which gives camera operators a sturdiness you simply cannot get from standard tripod tubes. The rigidity allows camera operators to be extremely precise in their movements – from whip pans to tracking players or objects,” explains Elisabetta Cartoni, President and CEO of Cartoni.

The new Sport 200 is built with duralumin as used in the aircraft industry and offers outstanding torsional rigidity with camera packages, up to 200 kg (441 pounds), in all possible large camera/lens configuration. Its innovative profile is angled and shaped to ensure maximum strength while weighing only 10.5 kg (23 lbs). Designed to withstand even the harshest weather conditions, the Sport 200 can endure severe weather conditions, rain, dust, moisture, and extreme temperatures.

MASTER 25

The Master 25 is a robust, yet lightweight fluid head designed to support the latest cameras complete with long lens, viewfinders, prompters and pan bar controls for new studio production as well as OB/ENG/EFP applications, with a payload capacity of up to 30 kg (66 lbs).

“The new Master 25 is the ultimate do-it-all head for ENG/EFP, studios and OB” explains Elisabetta Cartoni, President and CEO of Cartoni Professional Camera Supports. “Not only is the Master 25 completely compatible with competitor legs and even camera plates, but it is also perfectly suited for the camera operators needs. That means the head can precisely track slow-moving objects and whip pan in an instant. The new Master 25 will be displayed in the classy Black & Gold design of the famed Cartoni C20/C40 heads of yesteryear and is also available in grey anodized aluminum.

For more information on these products, join Cartoni at IBC 2019, Booth 12.E30. 

##

Rome, Italy (August 16, 2019) –Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is proud to celebrate winners of the ‘Win an SDS Tripod’ contest. The contest drew entries from the United States, Europe, Africa, and the Middle East.

“On behalf of everyone at Cartoni, we want to thank everyone for participating,” explains Elisabetta Cartoni, President and CEO of Cartoni. “We are thrilled to see the incredible photos and how people are using our gear! With so many great submissions, we decided to expand the awards to the top seven submissions. We are thrilled to see that camera operators all over the world have fallen in love with our patented SDS Tripod technology, which gives them the speed they need to capture incredible shots.”

Designed for camera operators on-the-go, the SDS Tripod is a set of patented tripod legs that allow camera operators to set up and fold their tripod in an instant. Three SDS Tripods will be awarded to the first four prize winners, and four runners-up will be awarded a Cartoni Monopod.

A Cartoni Focus 12 SDS Tripod System will be awarded to veteran cinematographer Eduardo Ramirez (California) who has worked on 13 feature films, more than 300 commercials and music videos and Season One of Narcos Episodes 4-7. 

“Cartoni was my first love, as a Second Camera assistant I began working with Cartoni back in 2006, and from the beginning, I discover how solid, effective, and efficient a Cartoni system is. The C20/C30 are amazing heads. And now I’ve been using the Maxima, which is an incredible head. Now as Dp and owner of a rental house, my first call was Cartoni heads,” says Ramirez.

A Focus 8 SDS System will be awarded to Kent Anderson (South Florida).

“I typically shoot documentary travel-based content and love being outdoors, capturing landscapes, wildlife, and foreign culture. My favorite gear is built tough, works every time, and is versatile. I like hybrid DSLR’s that capture both photo and video really well. Recently I’ve enjoyed using the Lumix GH5 and typically have it rigged with a Smallrig cage and SmallHD monitor for video work, but can quickly strip it down for just photo. I’ve had my Cartoni Focus tripod for almost ten years, and it’s the only piece of gear I still bring on every single shoot,” says Anderson.

An additional Focus 8 SDS System will be awarded to former radio DJ turned corporate filmmaker Frank Lozano (Los Angeles, California).

“I just love what I do. I get to travel and see new places and help people along the way. But most importantly, I like to “share” those experience with others. I think that’s why I love my cameras so much. When I’m a long way from home, I need to have gear that I can trust. That’s why I love Cartoni tripods. I’ve been using them since 2004 and it’s always been the set-up I prefer. Some of these places, I may never get a chance to come back. That’s why it’s got to be right the first time,” says Lozano.

A set of SDS Tripod legs will be awarded to Dubai-based Focus 18 videographer Issam Saadane (Dubai, UAE).

“During a shoot, one of my colleagues was using a Cartoni Tripod, and I fell in love with the quality and the finish of it. Three days later, I got my first Cartoni tripod. Plus, I love the wide range of rigs from the brand,” says Saadane.

A Cartoni Monopod will be awarded to Keaton Bowlby (California), Bryan Roy (Canada) and Mathieu Cowan (Canada).

For more information on the SDS Tripod, join Cartoni at IBC 2019, Booth 12.E30. Register for free by using code 4582.

##

From city council meetings to important public safety updates, running one public access channel can be a challenge. But since 1983, Pasadena Media has operated four public, education and government access television channels for the City of Pasadena, its school district and community college. And on top of producing content for four channels, the non-profit also runs the city’s community media training center and television studios.

“We provide training to the public to use our equipment and create their own tv shows. Typically we shoot with two or three crews per day, and we shoot about two episodes with each crew. I think we are shooting about the same as a regular news studio,” explains Chris Miller, Chief Operations Officer for Pasadena Media and the channel manager for Pasadena’s community access channel known as Arroyo.

With such heavy and regular use, when it came time to upgrade their gear, the studio needed professional equipment that was robust and durable.

“At last NAB [2018], I was looking for pedestals and heads to replace our failing 15 to 20-year-old Libecs. The Libecs weren’t build to handle the load we had on them quite frankly. After meeting with a competing brand, I ended up talking with David from Manios Digital who gathered information on my situation like no one else did, and he proposed the best solution. He offered the Cartoni P90 Pedestal which was a better-quality pedestal and head for the price than anyone else could give me so I really couldn’t refuse,” adds Miller.

“On our old system, we had probably over sixty pounds on the pedestal with the teleprompter, but the main problem was the wheels. The wheels were two parts that would tend to fall off, and we had to keep repairing them. Our users aren’t experts. They’re beginners, and since the wheels weren’t smooth and they weren’t reliable, we had to keep the gear stationary. Once we got the Cartonis though, that all changed.”

Pasadena Media added three Cartoni P90 Pedestals, a top of the line two-stage pedestal designed to support even the biggest camera/lens combinations of up to 198 lbs. Compact and portable, the Cartoni P90 Pedestal is equipped with high precision double wheels that allow ultra smooth traveling and steering. They paired the P90 with Cartoni’s Master 30 head. The Master 30 is a broadcast fluid head that can handle payloads of up to 88 lbs when in studio configuration with a low center of gravity – such as with a teleprompter.

“The P90s are great. They are easy to use so even our least-experienced users can perform more skillful maneuvering, get better camera shots and incorporate movement when we are shooting. The people who come through here are ordinary people. They aren’t people from nearby Hollywood; they are people who are trying to learn a new trade or just have their voice heard through the channel. One of the big things for us in moving from the prosumer level pedestal to the real deal is that the feeling in the room has changed. The feeling is that ‘oh, this is real now.’ People seem to give more. They try harder,” says Miller.

As a non-profit, Pasadena Media has to make their dollars count. That meant going with a brand that could offer performance and durability.

“It’s important to us that anything we buy will pass all of the initial tests and withstand the test of time. David [from Manios Digital] was great at helping us not get something that was at the lowest tier like we often do, but we got something that we really needed,” adds Miller.

Manios Digital is the exclusive US distributor for Cartoni Camera Supports.

Deep in a rain forest in Equatorial Africa, the peaceful Batwa Pygmies were once known as ‘the keepers of the forest.’ But for generations, these people, known for their unusually short height, would fight against their own slavery, rape and now, poverty. Three generations ago, this process culminated in the Uganda government seizing the Batwa Pygmies’ land with no monetary compensation and no place to call home.

The Batwa needed a champion.

Enter Justin Wren.

At six foot two and two hundred-fifty pounds, Wren is a giant of a man who spends his days fighting in the heavyweight division in mixed martial arts. With flowing blonde locks, he’s a mirror of the Marvel superhero Thor. And Wren is just the giant of a man the Batwa need.

After reading about the Pygmies, Wren, who would later be known in MMA as ‘the Big Pygmy,’ made a life-changing decision to head to the Congo. “I was fighting against people, but really I was supposed to be fighting for people,” Wren said in an interview for his book titled, “Fight for the Forgotten.”

The fight for the forgotten is about providing the Batwa with the skills to exist in the modern world and resources such as fresh water wells, and land to farm.

And Wren is not alone in his fight. He has rallied some in the MMA community to the cause, particularly legendary female fighter Cris Cyborg giving her dollars and time. And now, a documentary to chronicle this powerful story is being brought to life.

That’s when Jody Eldred entered the frame. Eldred, an Emmy award-winning and DGA award nominated TV and Filmmaker, trained in Brazilian jiu-jitsu and is well-known to some UFC production professionals deeply affected by what Justin Wren is doing to free the Pygmies in the Congo and Uganda.

The connection was made, and Jody began putting together the gear needed to effectively operate in Uganda. To create the cinematic look D.P. Filipe Bessa and Director Brady Nasfell were looking for, they turned to the new Blackmagic URSA Mini Pro 4.6K G2 and the Pocket Cinema Camera 4K.

“Because of the rough environment we would be shooting in and having to carry gear for great distances, and in tropical heat, we wanted stuff to be as lightweight as possible but still functional,” says Jody. “So I decided that, after trying everything, we could get by with a smaller head and slightly lighter sticks.”

Supporting the Blackmagic URSA Mini Pro 4.6K G2, the crew used a Cartoni Focus 8 head with SDS Tripod. The Cartoni SDS Tripod sets up & folds in an instant, making it a perfect choice for camera operators on the go.

“What I really liked about the Cartoni was how fast it set up,” says Jody. “You flip a single lever on each leg and you are ready to go. The Cartoni performed very well. It’s very well designed and supported the weight of that camera, monitor, etc. without an issue.”

Powering the equipment, including lighting, was going to be challenging. There is no electricity in the rain forest, and the “hotel” where the crew stayed had sporadic power outages. “Sometimes we got up in the morning realizing the generator had gone off during the night. We would run out of gas, run out of electricity, and our batteries weren't charged,” says Jody. Manios Digital supplied us with the Hawk-Woods Mini V-Lok 150 and 98wh batteries and some accessories such a hot-swap plate, charger, and a light spigot. The Hawk-Woods batteries and accessories were great. So we had plenty of power regardless. They are lightweight, small, TSA-approved and didn’t raise eyebrows.”

The Hawk-Woods Mini V-Lok batteries are the smallest and lightest V-Lok batteries in the market. Nearly half the size of a standard V-Lok battery, the Mini V-Lok batteries are travel safe and lightweight, making them a great choice for camera operators on the go. “I literally carried every single one of our batteries, the camera body, and ENG lens in a small carry-on roller case. I could never have done that with full-size bricks.”

Light & Motion Stella Pro lights were used to bring needed punch to lighting interviews in the harsh, overhead equatorial sun, as well as nighttime shots. “We were able to get some incredibly cinematic images at night shooting around a campfire with the Pocket Camera at a high ISO, around 16000,” says Jody. “Without the Stella Pro, it would have been very flat, no texture or depth.”

“We were there for about nine days of filming. It’s the first part of this documentary, and there's going to be a lot of filming going on over the remainder of this year.”

Justin Wren has won a few rounds in his fight for the Pygmies. A wealthy benefactor facilitated a land purchase so one tribe would have an area they could live on and farm. And even more important, low-cost groundwater wells are being drilled and will be maintained. What remained was a negotiation with the Mokala – a tribe to which the Pygmies are literally enslaved. The price of freedom was providing fresh water wells to the Mokala slavers as well, and it’s helping establish a level of goodwill never experienced before.

To follow the progress in the fight for the forgotten, visit fightfortheforgotten.com. Manios Digital is the exclusive US distributor of Cartoni camera supports and Hawk-Woods batteries. 

Filmmaker Chris Ray has made a career out of capturing epic shots.

From his beginnings in the skate industry to his work on the viral hit ‘Pipedream’ which saw Robbie Maddison surf waves on a dirt bike in Tahiti and garnered 30 Million views, Ray’s run and gun style of filming has made him successful. But what began with skating has quickly expanded into work with companies like DC Shoes, NFL Films, Ford, GoPro, ESPN and many more.

“I do so much outside of skateboarding now – commercials and so many other things,” explains Ray, who shot his first skate video in eighth grade. “This reminds me of where I came from. I owe a lot to skateboarding.”

Ray returned to his roots to compete in the X Games: Real Street 2019, an all-street skateboarding video contest. His one-minute video and collaboration with skater Chase Webb earned Ray his second gold and the fifth overall medal of his X Games career.

“I’ve always enjoyed doing Real Street because it’s the only contest that really gives the skater and the filmmaker a platform and an opportunity to win a gold medal,” says Ray. “I think that’s pretty rare anywhere. This video took us about six months to shoot. Chase was the underdog of this contest, so to walk away with a Gold feels even better.”

In the winning video, Ray used a long lens to capture ‘next level’ tricks on rails that were kinked, curved, and huge! Or in the words of one commenter, “Someone call Master Splinter... I found a Shredder.” Ray’s cinematography let Webb and the skating speak for itself.

“It’s a 60-second edit, but I try and make it feel as if it’s a full video,” says Ray. “It has a start; it has a finish. I try to work around the skater or the athlete and have my equipment ready to go. Everything needs to be pretty run and gun. I would hate to go on a shoot and say ‘oh wait, hold on guys. I need to get this ready.’ I just want to be ready to go.”

Being ready to respond to events around him has established Ray as a highly sought after filmmaker. While he continues to lead the video strategy for major skate brand, DC Shoes, Ray is now filming with many companies, but one he's idolized for a long time, NFL Films. In his kit, he trusts products he knows will be ready to perform when he needs it. In Ray’s run and gun kit, he includes a RED Epic, Core batteries, and for shots that need a long lens and ultra-stability, he chooses the Cartoni Focus 22.

“The Focus 22 is my go-to tripod,” says Ray. “That’s important to me because a lot of the cameras I’m using these days, like the Red Epic, are not very good for going handheld for skateboarding. When I’m using a long lens, that’s when the Focus 22 comes in. It's perfect. I remember when I switched from a bad tripod to a Cartoni, and it was just like my camera was floating in clouds. That’s what you want. You don’t want something that is fighting your shot or is going jerk mid-trick. Using a tripod that moves seamlessly with my camera has been huge for me. “

Having the right gear helps Ray gets the shot, but he credits his success to doing what he loves and taking chances.

“It’s funny because I always want to say no when I’m approached with a new opportunity because the scariest thing in the world is when you have the opportunity to realize your dream. You have to be brave enough to seize those opportunities and take those chances.

Manios Digitalis the exclusive US distributor of Cartoni.To follow Chris Ray, visit chrisrayfilms.com.

NASHVILLE, TENN.—The Tennessee Titans revamped their look on and off the field last season, unveiling new uniforms on the field and debuting two new studios at the Saint Thomas Sports Park training facility. Our new facility features a 900-square-foot video studio accented with two modern geometric backdrops and a 110-inch video wall. A second studio dedicated to radio and podcast programming was also part of the facility upgrade.

The Titans have one of the most loyal and dedicated fan bases in the NFL. With that comes a responsibility to our fans, new and old, to provide engaging and exclusive content that gains them access into our locker room and facilities that only our players have. Having a production facility on-site where players and coaches train and practice enables us to produce a ton of content without interrupting their schedules. It’s been a real game changer.

MORE THAN JUST FOUR WALLS

Our studio came to fruition from the efforts of several key staff members, including Executive Producer David Schindler, Mike Keith, the voice of the Titans, and Amy Strunk, controlling owner and co-chairman of the Titans’ Board of Directors, who shared our vision and invested in a state-of-the-art control room, radio studio and broadcast studio to launch our new initiatives and creativity.

The studio features a two-piece custom desk along with four different set deployments and a 7-foot jib with DJI Ronin 2 Controls. The control room has six edit bays with live playback capability as well as operator stations for monitoring and mixing of both studios in the event of a simultaneous show. Each studio features two PTZ cameras, a full complement of tie lines, including SMPTE fiber and custom studio lighting.

We looked at studios at other sports venues, as well as broadcast studios such as ESPN, TNT, FOX, etc., for inspiration. With limited space for our facility, flexibility was the number one priority. We wanted something with an eye toward the future, but still comfortable and familiar for our players and fans. It was important to be versatile enough to produce all different types of content. We utilize the studios to produce two weekly TV shows, daily digital updates, game day elements, PSAs, podcasts, radio shows, etc.

FINDING THE RIGHT TOOLS

To execute our shows successfully, we needed our cameras on a lightweight, robust and reliable tripod. Cartoni’s Focus 22 hit those marks, especially within the multiple configurations of our studio. With daily live broadcasts we needed to have a rugged head that could be easily deployed and modified for our sets. When changing on the fly in a break we must be quick and accurate, the Cartoni Focus 22 provides just that.

Despite its compact size, the Focus 22 provides what you expect from the larger payload models from Cartoni—gentle and smooth, yet quick and reactive. It was a no-brainer to incorporate the Cartoni dollies with our tripods. Pedestals weren’t ideal as we chose to go PTZ for our cameras. The dollies make transitions quick and painless.

Other gear we have in our studio includes: Ross Ultrix, Ross Graphite with Carbonite panel, Sony BRCH800s & FS7s featuring Fujinon lenses and a Red Raven featuring Canon Lenses, EZ FX Jib with DJI Ronin 2, Yamaha TF1, Shure Microphones, ETC Element 2 with ETC and Chauvet lighting fixtures.

Brian Myers is the broadcast technology and production manager for the Tennessee Titans. He can be reached at 615-565-4126. For more information about Cartoni, please visitcartoni.com.

Before he ever shot video, cinematographer and Sony Artisan Jeff Berlin had already established himself as an in-demand photographer in the worlds of fashion and celebrity portraits. He’s photographed celebrities like Kurt Russell and Patrick Dempsey, and over the years he’s collaborated with top fashion magazines and brands like Vogue Italia and L’Oreal,

Berlin got his start by apprenticing for working photographers.

“I got started in college; I never went to photo school. I began as an assistant, learning everything I could. As an assistant working on set, one learns in a practical setting the things that schools can’t really teach, like how to deal with clients, for one. After shooting for a few magazines early in my career in New York, I moved to Milan and spent six years working there and in Paris,” Berlin explains.

Berlin soon established himself in the fashion world for his keen eye, distinctive style and easy manner. He based himself in Europe and NYC, collaborating with numerous editions of U.S. and International magazines and commercial clients.

“Film was never on my radar but I was burning out a bit on photography,” he said. In photography, you wear different hats – you do it all, light, DP and direct. It was great training for what I’m doing now, but after years shooting in Europe and NYC I was growing tired of fashion and celebrity work.”

To escape and keep fresh, Berlin, also an airplane pilot, began writing about aviation for magazines and shooting the photos for his stories, and he started to shoot rodeo as well. But it wasn’t long before the fashion world came calling again.

“Six years ago, I got a call from a producer friend. He asked, ‘do you want to DP and direct a fashion brand video for Norma Kamali,” Berlin recounts. “Well, I didn’t really even know what a DP did, but I quickly said yes. I remember then calling a friend who was an actual DP to find out what a DP does. A couple days later I got a quick DP 101 over an espresso.”

The film, "KamaliKulture" Empowerment Film, was the first of Berlin’s transition from photo to video.

“One piece of advice my DP friend gave me was to surround myself with the best crew I could find, so for this project, I did exactly that. That was good advice and what I would do when shooting fashion or aviation. I only wanted the best stylists, hair and makeup artists, the best photo ship and formation plots, on my projects. We shot the film on a Sony NEX-FS700, which was the perfect choice then because of its high frame rate capability, but it was also a camera I didn’t really know how to operate. So, on a high-profile project like this, I crewed up, was able to focus on the creative and not get bogged down in the technical. I didn’t really care that I didn’t know how to operate that camera, and it didn’t matter, we had people for that. I did , however, know exactly how I wanted the video to look. I knew what I wanted my frames to look like and how I wanted it lit. I knew exactly how I wanted my models to look, like I always did when shooting stills.”

The film sparked a revelation in Berlin, who began to pour himself into video and the motion picture. As a Sony Artisan of Imagery, Berlin had some access to cameras like the F55 and credits Sony’s Digital Motion Picture Center (DPMC) for helping to facilitate some of his education.

“For anyone starting out with Sony’s CineAlta line of motion picture cameras, Sony’s DPMC is a great resource for filmmakers who want to learn about them and the technology they facilitate,” he adds.

Since then, Berlin has worked on numerous short films and promos for everything from the Professional Bull Riders (PBR) Association, to GT Bicycles, to Sony Electronics. For Berlin, it was all about getting on set and getting as much practical experience as possible.

Berlin’s latest work is a short film, Stormchaser. The film is about a hard-luck woman who is struggling as a door to door salesperson in the Midwest. The character has a revelation about how to increase her sales.

“It’s a great script that became a fun film, now submitting to festivals. It’s a bit like [the 1992 American drama] Glengarry Glen Ross mixed with a love story. We shot the film in Vermont, which played a great Midwest, in July of 2018.”

He adds, “We shot the film in 6K on my full-frame Sony VENICE camera and Sigma full-frame cine lenses. I built up my camera with Wooden Camera support gear and the Cartoni Focus 22 with SDS legs was the perfect set of sticks for the VENICE.”

“I chose the Cartoni Focus 22 because I was familiar with it from past projects, and because I like it. The Focus 22 is easy to work with. It's very solidly built and extremely smooth. This was the perfect camera support for this project.”

The Cartoni Focus 22 is specifically designed to support the wide variety of new digital cinema cameras, handling a broad range of payloads from 3 kg (6.5 lbs) to 22 kg (48.5 lbs). Cartoni’s SDS or Smart Stop tripod legs are built for speed and can set up or fold in an instant. Thanks to a single lever located on each tripod leg, camera operators can deploy all legs simultaneously. Rugged and easy to operate, Berlin put the performance of the Focus 22 to the test during one shot where the tripod was set up for a shot in the back of a moving pick-up truck. Cartoni’s SDS legs are built for speed and can set up and fold in an instant.

“I fell in love with those SDS legs. They’re a smart, robust design and are intuitive and easy to use. A tripod is an indispensable piece of gear so I’m pretty picky when it comes to them.”

Reflecting on his transition from stills to motion, Berlin says, “working in the new, to me, medium of motion pictures has been a lot of fun. To be able to translate into motion the types of images I had been making as a still photographer has also been very interesting, and it’s required that I learn a whole new language, including how and when to move the camera, for example. That’s just not intuitive to a still shooter, especially one with a studio background like me. What’s really helped me with that is really knowing the script and understanding the scene you’re shooting. Understanding the motivation of the character in that scene, and then using camera movement to help move that story forward. Ultimately, for as similar one would think they would be, shooting stills and video, the differences are manifest and I’ve been enjoying learning new ways to realize my creative vision.”

To see the Cartoni Focus 22, visit Cartoni and Manios Digital at NAB 2019, Booth C9020.Manios Digital is the exclusive US distributor for Cartoni.

Rome, Italy (March 21, 2019) – Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is proud to announce the launch of the new Master 25 fluid head at NAB 2019 (Central Hall, Booth C9020). The Master 25 is a robust, yet lightweight fluid head designed to support the latest cameras complete with long lens, viewfinders, prompters and pan bar controls for new studio production as well as OB/ENG/EFP applications, with a payload capacity of up to 30 kg (66 lbs).

It continues Cartoni’s line-up of premium yet affordable products geared for professionals.

“The new Master 25 is the ultimate do-it-all head for ENG/EFP, studios and OB” explains Elisabetta Cartoni, President and CEO of Cartoni Professional Camera Supports. “Not only is the Master 25 completely compatible with competitor legs and even camera plates but it is also perfectly suited for the camera operators needs. That means the head can precisely track slow moving objects and whip pan in an instant. The new Master 25 will be displayed in the classy Black & Gold design of the famed Cartoni C20/C40 heads of yesteryear and is also available in grey anodized aluminum.

With a combination of perfect balance and a super-smooth, continuously variable patented fluid drag on pan and tilt modes, the Master 25 enables camera operators to be responsive to the needs of the production.

The lightweight (5 kg – 11 lbs) Master 25 features a tilt range of +/-90° and easy to use rings which allow the camera operator or grip to preselect the fluid drag and counterbalance on a numerical scale from 0 to 10. Both the pan and tilt brake levers are easy to reach, and the head features a convenient horizontal lock for setup.

With a 150 mm bowl, the Master 25 offers a wide and stable base on tripods or hi-hats. The head base includes four bolt threads for direct interface to most of the pedestals. Additionally, the camera platform is equipped with a sliding camera plate, compatible with competitor products such as the Vinten Vision 250, with standard 11 cm plate or 22 cm extra-long plate for balancing off-set camera configurations.

For more information on the Master 25 fluid head, join Cartoni at NAB 2019, Booth C9020 (Central Hall). Register for free by using code LV2933 before March 24, 2019.

##

 Kent, United Kingdom (March 19, 2019) - Hawk-Woods, developer of broadcast power solutions, announces new capacity Sony NPF and BP-U batteries, new ultra-small and lightweight additions to its Mini DV (MDV) and BPU battery line at NAB 2019, Booth C9020 (Central Hall). The MDV and BPU battery lines are a popular line of rechargeable batteries used to power everything from cameras, monitors and mixers. To support the growing power needs of camera operators, Hawk-Woods have doubled their range of MDV batteries, and are now offering a new 98Wh BP-U battery with dual output! 

Hawk-woods new Mini DV Range

Hawk-woods new MDV range consists of batteries ranging from 18-74Wh with different size variations tailored to suit your preference on power vs. weight ratio! Whether you are looking to run your camera for longer the 6-cell 74Wh version maybe for you, on the other hand, a monitor may require the medium 4-cell 50Wh version due to weight and less depth to the battery!

The four new additions to the DV range are the: DV-F590 – 25Wh (2-cell), DV-F770 – 38Wh (4-cell), DV-F790 – 50Wh (4-cell) and the DV-F990 -74Wh (6-cell). The largest capacity battery now in the range is the DV-F990 – with an astonishing 74Wh of power and weighing less than 300g (10.5 oz), is an impressive, powerful addition that will provide the user with increased run time.

Hawk-woods tested the new single DV-F990 on Atomos’ popular 4k recorders and achieved 2 hours of runtime from a single battery while 4k recording on 50% brightness.

Hawk-woods Expands BPU Range

In addition to the Hawk-woods current 14.4V BPU range comes the BP-98UX. Hawk-woods has expanded the BPU range due to the popular demand of the 75Wh version which has been used with the Sony FS7 and now the latest FS5 cameras.

The 98Wh version maintains the range’s flight-safe status and comes with two D-TAP outputs. While still offering these key features, Hawk-Woods has managed to upgrade the capacity of the battery, while keeping the physical size of the battery the same as the 75Wh version. With all this, weight gained is a mere 18g (less than a single ounce)!

The new MDV range and the expanded BPU range comes with Hawk-woods standard warranty. To see all of the latest products from Hawk-woods, please join us at NAB 2019 Booth C9020. Use Code LV2933 to register for free.

Manios Digital is the exclusive US distributor of Hawk-Woods, Cartoni, and Kinotehnik.

Rome, Italy (March 14, 2019) –Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is proud to announce the launch of the new Sports 200 heavy-duty tripod legs at NAB 2019 (Central Hall, Booth C9020). The new Sports 200 are a revolutionary set of tripod legs, designed specifically to meet the rigorous demands of sports and outside broadcast (OB) production. It continues Cartoni’s legacy of delivering cutting-edge solutions for content creators.

“The new Sports 200 is a game changer. It features an extremely innovative aluminum profile and angular structure, which gives camera operators a sturdiness you simply cannot get from standard tripod tubes. The rigidity allows camera operators to be extremely precise in their movements – from whip pans to tracking players or objects,” explains Elisabetta Cartoni, President and CEO of Cartoni.

The new Sports 200 is built with duralumin as used in the aircraft industry and offers outstanding torsional rigidity with camera packages, up to 200 kg (441 pounds), in all possible large camera/lens configuration. Its innovative profile is angled and shaped to ensure maximum strength while weighing only 10.5 kg (23 lbs). Designed to withstand even the harshest weather conditions, the Sports 200 can endure severe weather conditions, rain, dust, moisture, and extreme temperatures.

Built with the camera operator in mind, the Sports 200 features a center brace and a telescopic mid-level spreader that is equipped with a truss structure that ensures stability in any environment.

Set up is fast and comfortable. Each leg features positive rotary locking knobs and safety pins while the bubble level is located on the side of the platform for easy use. The Sports 200 also features both a spiked foot for soft terrains and a pivoting rubber pad for flat surfaces. Simply twist the rubber pad to reveal the spiked foot.

The Sports 200 accepts classic Mitchell flat base heads and the four standard bolts. It is seamlessly compatible with all competitor heads, as well as the Cartoni HD Dolly and HD floor spreader.

The new Sports 200 comes with a best-in-class five-year warranty but thanks to Italian engineering, you might never need it! For more information on the new Sports 200, please join us at NAB 2019 Booth C9020. Use Code LV2933 to register for free.

Manios Digital is the exclusive US distributor of Cartoni, Hawk-Woods and Kinotehnik.

##

Rome, Italy (March 7, 2019) –Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is proud to celebrate the SDS Tripod, with a global contest inviting users from around the world to share how they use their Cartoni system.

The contest coincides with the start of NAB 2019 on April 8, 2019.

“Camera operators all over the world have fallen in love with our patented SDS Tripod technology, which gives them the speed they need to capture incredible shots,” explains Elisabetta Cartoni, President and CEO of Cartoni.

Designed for camera operators on-the-go, the SDS Tripods are a set of patented tripod legs that allow camera operators to set up and fold their tripod in an instant. Available in 75 and 100mm, the SDS Tripod legs have a payload capacity of up to 60kgs (132 lbs). The patented SDS Tripod is equipped with a single lock that secures all stages and allows all the legs to be deployed simultaneously for extremely fast set up. The SDS Tripod features a patented dual-stage spreader which can be deployed for extremely high or low shots (50 mm-155 mm or 19.7 in.-71 in.) while maintaining torsional rigidity and stability no matter the payload. Using an innovative ring system, camera operators simply pull the ring and both the 3 legs and spreader close in a single motion! The SDS Tripod sets up & folds in an instant! Moving locations is now easy and quick. 

"I found myself using the SDS tripod mainly for wildlife documentaries. In shooting a documentary, I have to work in total silence and the SDS has been an excellent partner. It’s very fast. With one movement, I can lower or raise both stages. It’s extremely silent as all of the parts slide in a perfect fluid movement. The spreader has an amazing extension and there is a very handy cord that you can pull to close the legs for fast, easy transport,” says Italian Cinematographer Paolo Sodi. 

From April 8 – June 8, 2019, Cartoni users are invited to submit in-use pictures or a short video showcasing how Cartoni heads & tripods supports their passion. Judges will select five finalists and feature the photos and videos across social media and invite the public to vote on the top three winners. Winners will receive a SDS Tripod system with FOCUS fluid head and have the opportunity to test and get a first look at upcoming Cartoni product launches.

For full contest terms and conditions, please visit https://inside.cartoni.com/sds-tripod/. For more information on the SDS Tripod, join Cartoni at NAB 2019, Booth C9020 (Central Hall). Register for free by using code LV2933.

##

LAS VEGAS—Italian-based provider of camera support systems Cartoni will make the trip to the 2019 NAB Show to premiere its latest product, the Steering P70 Pedestal.

The P70 is a single-stage steering system for studio and OB production. It features a removable steering wheel, a new column design that offers stability and smooth, precise movements and can produce “on-shot” movement capability with crabbing.

The wheels for the pedestal are three sets of 4.9-inch dual-wheels cast in special memory polyurethane; 6.2-inch wheels are available to order for OB production. All wheels are individually lockable and equipped with a cable guard to move cables away during movement.

The pedestal also has an air-filled column that can work with Nitrogen or clean compressed air and be filled by a compressor or hand pump. A safety air pressure valve prevents excess pressure.

The Steering P70 pedestal is capable of handling camera package of up to 165 pounds.

Cartoni will showcase the P70 at its booth, C9020. To register for the NAB Show, visit www.nabshow.com.

For the last seven years, Emmy-award winning Director of Photography Danny Schmidt has established himself as a dynamic presence in the environmental film space – pairing in-depth stories with stunning visuals. From elephant poaching in Myanmar to climate change and changing ice levels, the Montana native has worked with some of the biggest names in the space including the Smithsonian, NASA, Netflix, PBS, National Geographic and many more.

Manios Digital sat down with Danny to find out how he got started and the gear he uses in the field.

Q: You’ve worked on some great videos from the elephant poaching in Myanmar to climate change in the ‘trial of the century,’ how do you approach each of these shoots? Is this more run and gun or do you have shots in mind for the way you tell the story?

DS: I approach every shoot with one thing in mind: what do I need to do to help tell the best and most honest story possible. This informs the type and style of coverage we get, how we approach the characters, the locations, etc. That said, I love verité, hand-held shooting. There's something about the interplay between the subjects and the cinematographer that creates the raw feeling of intimacy and access that the audience feels on the screen. However, I also love the opportunity in slower, more controlled situations to take the time to set up shots, experiment more with composition and lens choice, and create a frame that is meant to be studied by the audience.

Q: Your film, Running Wild, is shot beautifully! Can you talk about your style? Did you plan on using the wide shots, opening timelapse to highlight the isolation and beauty of the mountains?

DS: Thanks! I had a talented team working with me on this, a stunning location, and a unique story. A lot of elements came together! We knew we wanted to merge the exciting cinematography commonly seen in adventure/sports films with the pressing narrative of finding a critically endangered species. We had great, natural subjects in Craig and Sarah who, aside from already being involved in the science project, were badass and passionate runners. Wide shots were the only way to capture a landscape as big as the Uinta Mountains and to show how small people really are in a place that remote and wild. The night time-lapse seemed like a no-brainer to add to our shot list because that is the time when wolverines are out doing their wolverine thing!

Q: Can you talk about this last trip you went on? What projects was it for and can you talk about the different things you did?

DS: I've had a busy fall working on various projects all of which have different styles and aesthetics. From a purely verité doc series on income inequality in America, to a glossy doc about saltwater fly fishing in New York, to a wildlife film exploring conservation on military lands. So, sometimes I am standing behind a tripod in the early morning hours waiting for an animal and other times I am fully loaded with my Easy Rig following people around town.

Q: What is in your kit?

DS: For most doc stuff I use an FS7, a variety of Sigma and Canon primes, EasyRig, MoVI, a couple sets of wireless lavs, Cartoni Focus 22, a bunch of Hawk-Woods Mini V-Lok batteries, a few LED panels, and lots of other grip gear, monitors, and supports. For long lens wildlife stuff, I’m generally shooting on the RED for over cranking and increased resolution. It's a lot of stuff to haul around the airport.

Q: You took the Hawk-Woods Mini V-Lok batteries with you on this last trip. What did you think?

DS: The Hawk-Woods are a game changer. Seriously. I am the envy of my friends and colleagues on set. They are tiny, they last forever, and charge fast. What else could you ask for in a battery? They are the future.

Q: What did you think of the size of the batteries?

DS: The size is deceptive. They are small, but super powerful. I am so glad HW is leading the charge (pun intended) on shrinking the tech into smaller packages. Traditional v-mounts were really big and bulky. With TSA now requiring all batteries to go in your carry-on bags, it is crucial that you take the smallest, most powerful batteries you can find. Your camera will run all day and your back will thank you later.

Manios Digital is the exclusive US distributor Hawk-Woods, Cartoni tripods and Kinotehnik lights.

Join us at NAB 2019! Register for free by using code LV2933.  

NORTH HOLLYWOOD, Calif. — In anticipation for the launch of the Atlantic Coast Conference linear television network in 2019, Seminole Productions has purchased three Cartoni Magnum fluid head systems from Manios Digital & Film. The crew produces video for Florida State University and needed the sturdy Cartoni Magnum head for its rigorous upcoming production schedule, which last year included “more than 100 video board shows, 81 digital ACC Network Extra broadcasts and 17 linear broadcasts for ESPN,” according to a statement from Manios.

The Cartoni Magnum head provides payload capacity of 55 to 210 pounds (25 to 95 kilograms) and can support both studio and outdoor cameras that have “long boxed lenses and other bulky accessories.” The compact Cartoni Magnum head features an advanced fluid dampening module and patented counterbalance system.

“The Cartoni heads are more robust than the support systems we’ve been using and, comparing them component by component, we felt they would hold up better,” said Kirby Kander, senior director of live events at Seminole Productions in the statement. “We are in the process of adding more cameras and box lenses and look forward to using them on the Cartoni heads and tripods.

[Want more information like this? Subscribe to our newsletter and get it delivered right to your inbox.]

SANTA MONICA, CA.—Santa Monica College has added JVC GY-HM890 ProHD cameras in its production studio at its new Center for Media and Design, JVC announced today.

Three GY-MH890 cameras are paired with JVC FS-790 ProHD fiber optic system modules connected directly to the camera bodies via 68-pin connectors. The cameras are mounted on Cartoni pedestals and outfitted with CueScript prompters.

The cameras are being used to teach multicamera production, said Gail Fetzer, an associate professor at the college. Students produce talk shows, music videos and other content that is shared on YouTube and Facebook.

The college first purchased JVC cameras seven years ago for its flypack production system. Later, it added GY-HM650 ProHD cameras for students to use while gathering news in the field. Selecting the GY-HM890 cameras for the studio, the college was able to keep the same user interface, said Brad Lemonds, media coordinator for Media Production.

Video production from the new facility, which is modeled after the production facilities of the Big West Conference, began in January. “We wanted to emulate their systems,” said Lemonds.” We’re trying to provide close to ESPN quality.”

LAS VEGAS—The Smart Deployment Series (SDS) tripod from Cartoni is set to go at the 2017 NAB Show, as well as fluid heads for broadcast, studio and digital cinema cameras.

The SDS tripod improves upon Cartoni’s Smart Stop two-stage, single-lever trigger technology with a new Smart Lock mid-level spreader. It features a patented no-bind mechanism for fast spreading and collapsing, enabling rapid deployment.

Visitors to the Cartoni booth will see the Master 65 heavy-duty head for broadcast cameras with larger zoom or box-type lenses. It features Cartoni’s Magnum counterbalance system and unique silicon fluid drag system for perfect balance and smoother starts and stops with no backlash. This makes it ideal for tighter shots on long, zoomed lenses that are subject to subtle camera movements. As the largest Master fluid head, it has a payload capacity of 44 to 143 pounds.

The Master 30 features a wing counterbalance system that provides perfect balance throughout the full +/- 90-degree tilt range with no dead spots. Offered in a flat base, it can be converted to a 150-bowl base with optional adapter. Its rugged construction can handle payloads up to 66 pounds. The company will also show the Maxima 30 for digital cinema cameras, including ARRI and RED. The safety lock and release latch can be activated with one hand to disengage or remove the camera plate.

Cartoni will also show the Lambda 25 3rd Axis, which allows the Lambda 25 head to perform 360-degree rotations on a third axis from jibs, dollies or sliders; and the

Total Dutch, a revolutionary head design capable of full 360-degree rotation, which can be mounted on any existing heavy-duty pan and tilt head.

The 2017 NAB Show takes place in Las Vegas, April 24-27. Cartoni will be in boothC9521. For more information, visit www.nabshow.com.

NORTH HOLLYWOOD, CALIF.—Ithaca College is already stocking up for next semester, as the Roy H. Park School of Communications recently acquired Cartoni camera support products for its studio production facilities. The school purchased a total of six Cartoni P90 studio pedestals and Omega fluid heads. It is part of an all-new camera package that includes 10 HD Ikegami cameras, six CueScript teleprompters, and four Gamma fluid heads for the mobile production unit.

Ithaca students utilize Cartoni camera support products

The Cartoni pedestals and fluid heads are durable and provide flexibility for varying production demands. The P90s can support payloads up to 90 kg, as well as the Ikegami cameras and CueScript teleprompters.

Ithaca acquired the Cartoni products from Manios Digital & Film.

ROME—In its 80th year, camera support provider Cartoni has announced that it will premiere four new Focus Fluid heads designed for today’s smaller, lighter cameras at the 2015 IBC Show. The new Focus 8, 12, 18 and 22 can accommodate a variety of cameras, lenses and accessory packages from zero to 48.5 pounds, and each consisting of Cartoni’s counterbalance system.

Focus 12

The Focus fluid heads are made with lightweight magnesium alloy and feature 90 degrees of adjustment. The Focus 8 uses a sliding plate compatible with Sachtler Ace and Manfrotto standard plates, while the Focus 12, 18 and 22 come with a Euro plate compatible with most tripods. Focus 12, 18 and 22 also come with a switchable, illuminated level bubble, and offer 100mm ball base fitting; Focus 8 has a 75 mm ball base fitting.

All new Focus fluid heads will be on display at booth 11.E30.

IBC 2015 will take place from Sept. 11-15 in Amsterdam.